Basho’s travel writing give us insight into what drove this poet to keep searching for meaning and enlightenment. It inspired lots of experimental film titles, including some of mine, here’s one. Explained.
I took a roll of 35mm images around my parents La Trobe Cinema and lent them to my mother, both now long gone. These are from a 4fps film of the day when Jim Lawrence leased it to my parents in June 1973. That I still have.
We need our computer folk heroes, and if they come with an air of danger around them, it restores the feeling that we were on the digital frontier. Another story from MM, for the last print issue June 1995.
Artist Bill O’Donovan came into the MM office with his folio, just as we were doing our last print issue, so we couldn’t offer him any work. All we could suggest was, that he stick around, and we’ll do something together on the web.
There were lots of filmmaker friends and even cameras we passed around, so the results are of variable quality. I’m grateful to have all this. In spite of omens there’s happiness here (and a lot of hair!)
“Today everything is archive and everyone an archivist. People everywhere constantly create, collect, document, make lists, inventories, classify, store, retrieve, and reuse all kinds of information.” Here’s a look at forgetting things.
Mike Kuchar came to present his and identical twin brother George’s films at the Coop. We introduced him to a few of our filmmaker friends – the Super 8 movie shows a night at Michael Lee (and Magda’s) house and recording a video interview.
Hugh McSpedden was always part of the Melbourne alternative film community from the early days of the Film Co-op. His light shows were integral to the T.F. Much Ballroom and other concerts I attended. I’m finding bits in my film archives of him, so I’ve started this page.
What’s hard to remember is that we had little option for portable digital image storage other than floppy disk, or limited built-in RAM. This was my first digital camera, recording stills, movies and sound on a mini CD.